로우예(婁燁)의 영화 <새터데이 픽션(蘭心大劇院)> 속 텍스트들의 관계

Abstract

In this paper, the textual composition, expression form, spatiality, and theme of “Saturday Fiction” were examined. The film “Saturday Fiction” has moved most of the motifs from the Hong Ying(虹影)’s novel “Dying in Shanghai”, and from “Shanghai” by Yokomitsu Liichi(橫光利一), the identity ambiguity of a woman named Qiu Lan(秋蘭) was brought and synthesized with the character of Yu Jin(于菫), the main character in the film. From Mu Shiying(穆時英)’s “Foxtrot Shanghai”, an image of the fallen writer Mo Zhiyin(莫之因) was created. The form of “play within a play” in the film is well used to express the ambiguous boundary between play and reality. The sense of distance between play and reality, stage and auditorium, and acting reality has always been latent in Lou Ye(婁燁)’s memory, and Lou Ye expressed this in a movie. Rehearsal and actual performances of the play are always confused, characters are always acting even while living in reality, and hotels and theaters were also a big stage for the play. Through this duality, Lou Ye seems to have tried to express the spatial overlap of the city of Shanghai where he has lived. The title of this film is “Lanxin Dajuyan(蘭心大劇院)”, but the English title is “Saturday Fiction”. “Saturday Fiction” refers to a popular and popular literary novel by the writers of “Yuanyang Hudie(鴛鴦蝴蝶)” published in a magazine called “Saturday(星期六)” in the early 20th century. “Yuanyang Hudie” or “Saturday party” was a small-scale literature favored by Shanghai citizens in the 20th century. The play in the movie is a rewritten version of “Shanghai” by Yokomitsu Liichi, which deals with serious contents such as “Strike”, but takes on a very light title of “Saturday Fiction”. On the day the play “Saturday Fiction” is performed in the movie, Japanese soldiers rush into the Lyceum Theater to shoot Yu Jin. At this time, the camera illuminates the audience, and the audience is generally well-dressed. It is a rather serious content that depicts social problems, but Shanghai citizens are dressed up and enjoying the play. These audiences may be those of the play “Saturday Fiction” in the movie, but they may be those of the movie “Saturday Fiction”. Even if the content of the play is serious, like the consumer public in Shanghai in the early 20th century, who relieves the fatigue of work for a week by watching it, the director wants Shanghai audiences in the 21st century to consume their movies light and free while eating popcorn. “Saturday” in the title of the movie was not a matter of intertextuality, but of attitude toward art.